A novel following a decorated African American general as he reflects on his life after a near-fatal heart attack.
 
In But by the Grace of God, Hope Lynne Price-Lindsay tells the story of decorated African American four-star general Frederick (Fred) Anderson. When Fred suffers a near-fatal heart attack on the golf course and is rushed to Walter Reed Hospital, he is fortunate to land in the hands of his old college roommate and Kappa Alpha Psi fraternity brother Nathanial Wilkes, chief of cardiology. To ensure his old friend receives optimal care, Nathanial personally oversees Fred’s recovery and appoints his gifted young protégé, cardiology resident Christian Moore, to check in on Fred daily when making his rounds. Christian notices the absence of visitors, and what begins as a series of cordial bedside check-ins soon blossoms into a friendship that ultimately goes far beyond what Fred ever imagined. Numerous coincidences and the eerie resemblance between Fred and Christian force Fred to dive deep into his complicated past to exhume a dark secret that his ambition forced him to bury decades ago. Now alone and near death, mourning his past and the family he let slip through his fingers, Fred sees Christian as his last opportunity for redemption.
 
In this book, Hope Lynne Price-Lindsay takes readers on an extraordinary journey of intricate twists and turns: the curse of assimilation, secrets, lies, and betrayals that ultimately lead to a desperate last cry for redemption.
 

A collection of essays challenging White Americans to work against racism. 
 
This collection of thirty-two essays by Carolyn L. Baker addresses White Americans about America’s complex issues with race. In the wake of nationwide Black Lives Matter protests against racial injustice and police brutality, many Americans are taking steps to educate themselves about racism in the United States. Baker asserts that implicit racial bias harms and debilitates the soul of the White community goes against its deepest moral and religious traditions and is theirs to dismantle for the sake of their own liberation. She argues that, instead of waiting on top-down changes, Americans should begin the work of repairing the racial divide in their own communities. With Dispatches, From Racial Divide to a Road of Repair, Baker seeks to challenge, inspire, and uplift readers who, like herself, want to create a bottom-up paradigm for building community to drive authentic social change.
 

Poems that address the pain caused by gender stereotypes and racial oppression in the American South.

Claire Millikin’s poetry collection, Dolls, stages a confrontation of gendered and racial oppression. Working through the motif of the doll, the poems interrogate femininity in the traditional culture of the South, where damaging structures of gender and race are upheld. Millikin centers the book on an elegy for Sage Smith, an African American trans woman who disappeared from Charlottesville in 2012. Through the recurring figure of the doll—an ultra-femme figure who is frozen, damaged, silenced—Millikin protests the conditions of sexism in the area she was born in, offering poised responses to the wound of injustice that still shapes the region. With a reflective introduction by poet and scholar Sean Frederick Forbes, Dolls presents a harsh look at the price of traditional femininity. 

A bilingual collection of three significant works by a founder of the Nuyorican Movement.
 
This second edition of Jesús Papoleto Meléndez’s Hey Yo! Yo Soy! celebrates the tenth anniversary of the collection’s original publication in 2012. With a title update that reflects the tenth anniversary, this expansive collection comprised of three previously published books—Long Shadows, Have You Seen Liberation, and Street Poetry & Other Poems—brings together stories about growing up Puerto Rican in New York City’s El Barrio. Meléndez, long considered one of the founders of the Nuyorican Movement, offers an approach to political, intellectual, and linguistic topics that remain poignant and relevant today.
 
This tenth-anniversary edition offers a special introduction by professor, activist, attorney, and sociologist Jaime A. Estades, who surveys Meléndez’s career in a sociological framework, offering a fresh perspective of his body of work. Meléndez discusses his Hey Yo! Yo Soy! and provides a historical survey of the Nuyorican landscape and its existence today.
 

Revealing mother and daughter memoir chronicling their final conversations, complexities as women and artists, and the rich history of their African American family.  
 
Shirley Bradley Price LeFlore, activist and architect of the 1960's Black Arts Movement, and Lyah Beth LeFlore share tears and laughter through intimate conversations during Shirley’s final year of life and discuss the childhood tragedy that shaped Shirley’s life and artistry. Lyah talks about growing up with a mother in the public eye, tracing Shirley’s ancestors’ experiences as a midwestern African American family with rich southern roots and a deep belief in God and the spirit world. 
 
A testament to the powerful bond between Shirley and her three daughters, the book shines a light on the beauty and toll of caregiving by beautifully interwoven prose, including Shirley’s private journal entries and unreleased poetry, discovered by Lyah, alongside stories, ephemera, and photographs
 

In his new collection of poetry, Naked, Abiodun Oyewole unveils his thoughts on self-love, forgiveness, lost love, survival, and cultural identity. Known as a founding member of The Last Poets, a spoken word performance group that arose out of the black nationalism movement in East Harlem in the late 1960’s, Oyewole brings his revolutionary voice to this collection. His writing is straight-forward, engaging, and intense, with the poems taking on the shape of various emotions. Inspired by the “naked poetry” of Juan Ramón Jiménez, Naked is rooted in a striving for freedom, for an essential natural state devoid of all external adornment, turning sensations into concepts that express the concrete realization of nature itself. Written in free form, the brief transcendental poems of Naked convey the character of Oyewole, who has evolved into a master poet of his generation.
 

The first-ever collection of works by a vibrant New York artist.

Vagabond is an artist, writer, filmmaker, anarchist, and idealist from New York whose work is inflected by fine art, street art, and hip-hop. Nothing to Be Gained Here is the first collection of Vagabond’s work, revealing it in all its breadth and diversity across a variety of media, including photography, painting, and drawing. Those works are set alongside Vagabond’s poetry, essays, scripts, and interviews, a nod to the influence of the broadsides of the 1960s counterculture. The result is an all-encompassing view of an artist for whom the realms of daily life and creative work constantly overlap.

Since slavery, Black women have struggled to liberate themselves from racism and sexism. Yet despite these hurdles and under the most difficult circumstances, they managed to achieve greatness. TRAILBLAZERS shines a light on these their accomplishments, which often led to widespread cultural change. TRAILBLAZERS is a six-volume series that examines the lives and careers of over four hundred brilliant women from the eighteenth century to the present who blazed uncharted paths in every conceivable way.

Each TRAILBLAZERS volume is organized into several sections. Along with biographical information and powerful photographs, David provides a historical timeline for each section—written from the viewpoint of Black women—that maps out the significance of the featured women that follow.

Volume 1 features an assortment of sixty-five activists, dancers, and athletes. We learn about the significance of activists like Ella Baker, Pauli Murray, Rosina Tucker, and Clara Day, who represent the hundreds of unnamed women who participated in the civil rights and labor movements. We re-discover dancers Jeni Legon and Margot Webb, who are honored alongside dance legends Josephine Baker, Katherine Dunham, Janet Collins, and a new generation of dancers including Misty Copeland, Dormeshia Sumbry-Edwards, and choreographers like Camille A. Brown, and Cynthia Oliver. And then there are the Black women athletes who disrupted the world of sports, from the nearly forgotten tennis champion Ora Washington and Alice Coachman—the first to compete and win in the Olympics—to Simone Biles, the most decorated gymnast in Olympic history. Throughout the series, as David re-introduces many of these women into the public sphere, they are not always in predictable ways. For example, Debbie Allen makes a brief appearance in this volume, not for her acting or as a director, but rather as the dancer she initially trained to be, reminding us that Black women are multifaceted, multitalented, and complex. What binds these women together is that as they struggled on the front lines, they shook up the status quo of Black people in America. Throughout the volume, David also challenges the socially conditioned assumptions, stereotypes, and false binaries that denigrate Black women’s bodies particularly in dance and sports, including the barriers they face in how they wear their hair. In this regard, David addresses the totality of Black womanhood: physically, culturally, and politically.

With painstaking research, David has created an affordable, visually rich, and accessible reference book. From the foremothers who blazed trails and broke barriers, to the women who follow in their footsteps, TRAILBLAZERS offers powerful and inspiring role models for women and girls from all cultural backgrounds and for the intellectually curious. TRAILBLAZERS is a clarion call for recognition of the transformative work Black women have done and continue to do. Written in accessible prose that contains personal reflections for a broad audience, TRAILBLAZERS also serves as a vital reference guide for use in schools and libraries.
 

Poems, stories, and photographs that travel through extreme natural and urban landscapes.
 
Ray DiZazzo is a poet obsessed with imagery, and the poems, photographs, and stories in Tropic Then attest to that obsession. Beginning with a visceral and intensely visual journey through the jungles and rainforests of Brazil, this collection captures what was once the beauty and spiritual aura surrounding the wildness of an untouched tropical forest.
 
The book is written in four sections. The first section, “Tropic Then,” refers to a time before the clearcutting and burning of the Amazonian jungles. “Polar,” the second section, focuses on cold themes as a counterpoint to the jungle heat. Section three, “The Dark,” consists of grim, shadowy poems, and section four, “Looking up in Los Angeles,” explores life in the jungle of city spaces. Though diverse in their style and content, these poems, stories, and images all work together to deliver stunning imagery. Tropic Then is not an activist, confessional, or heavily introspective work. Rather, it is a real-life poetic journey through our world filled with wonderful “ah-ha” moments that will delight its readers.
 

In The Wanderer, Carole J. Garrison fulfills her bucket list by meeting with the people who fascinate her and the places that lead her to them. Through her journeys, she explores the unexpected human connections that transform the experience of travel, and she celebrates the gifts of kindness she encounters around the world from the perspective of a solo female traveler. In each new place she visits, the nomadic Garrison keeps company with a cast of fantastic characters, each of whom opens her eyes to new cultural perspectives while inspiring love and laughter. The Wonderer is a heartfelt and honest memoiristic travelogue that invites us into the life and journeys of Garrison.
 

A story in verse chronicling the misadventures of a recently divorced Lebanese woman dating in America.
 
Laila Halaby’s second collection of poetry, why an author writes to a guy holding a fish is a story in verse. This honest, sensual, and often funny series of narrative poems chronicles the author’s decision to leave her two-decades-long relationship with her Palestinian husband. Halaby suddenly finds herself in the world of American dating where she searches for idealized love and genuine connection. Always treated as an “other” and having never dated a white man or an American before, Halaby writes about misadventures and heartbreak amid misread cues and lost nuances. Halaby reassesses her role as a woman, a mother, and a writer, and she learns how to dispense with labels and imagined expectations. In the process, she becomes reacquainted with her womanhood and power.